But remains of plaster can be seen in some of the caves. Some caves are shrine-cum-monasteriesof the early tantric period of which we find parallel examples in Caves6 and 7 in Aurangabad. The next panel shows Shiva Tandava with musicians on his right, and his consort Parvati on the left. The Mahakuta Pillar and its Temples, Artibus Asiae41. Steps from the south-west corner of the hall ascend to the intermediate level, which is similarly organized. You can take a tour of the caves which will take just a few hours. Unless otherwise specified, all content is made available under the CC-BY-NC-SA 4.0 Licence, though additional terms may apply. The other arms have his regular weapons. Presence of Jambhala in the Buddhist caves of Ellora strongly suggests that Buddhism was still patronised by the trading community. Some of the Dharinis have been identified as Janguli, Chunda, Tara and Bhrikuti. Ajanta and Ellora Caves - Art and Culture Notes At the rear end of the court is an upper gallery with parapet wall embellished with amorous couples and scrollwork. They are one of the worlds largest monastery cave complexes carved directly into a rock face. Ajanta and Ellora Caves in India: What to Know Before You Go - TripSavvy 2), porches are added with sub-shrines, or there are circumambulatory passageways around the main sanctum (Cave 8, Fig. At the back there are figures of Dikpalas and other gods including Bhringi. Goddess Parvati and her attendants are watching the dance. The pillars in the hall have exquisite bracket capitals with salabhanjikas (sculpture of a woman, displaying stylized feminine features, standing near a tree and grasping a branch) supporting the roof. Buddhist Architecture of Western India (c.250 B.C.- c.300 A.D.), New Delhi: Agam Kala Prakashan. Cave no.29 viz. What is the significance of Pavagadh Archeological Park? 1934. Ellora Caves Information Ellora Caves History The north side left wall first panel depicts Andhakari Shiva. The third panel was probably meant for Shivling. Penetrative method is the conventional approach seen in Western India, like at Ajanta where the carver penetrates into the rock surface and creates space. When Buddhism was largely followed by the merchant community, it was popularly believed that Bodhisattva Avalokiteshvara would protect them from the perils of trade. These two inscriptions present a picture of the significance of Ellora as a sacred center and its evolution into a center of political importance at least during Rashtrakuta period, also evident from the art and architectural activities at Ellora under the successors of Dantidurga. Elloras Earliest Phase, Bulletin of The American Academy of Banaras I: 1122. Some of our partners may process your data as a part of their legitimate business interest without asking for consent. Shiva is standing here in Atida pose. We also find more than six to seven sculptures of Jambhala, the Buddhist god of wealth. So Caves5, 11 and 12 suggest that Ellora was probably functioning as an important centre for Buddhist education during the 6th-7th centuries of the Common Era. The monumental Ravana shaking Kailasa on the southern adhishtana shows a kind of fusion of all the styles and definitely appears to be an afterthought. Interestingly, images of Tara protecting from devotees eight dangers (ashtamahabhaya), are commonly found in the Buddhist art of eastern India. We find images of Bodhisattvas, Bodhishaktis and other deities alongside that of Buddha. A figure of Durga Mahishasuramardini on the rear entablature of the mandapa, insignificant compared to the monumental figures on the walls also supports this proposition. But also merchants and business people, had a place to rest and take shelter, sometimes travelling together to Ellora. The Dasavatara cave might have been still under excavation when the Rashtrakutas took over. 37). Avalokitesvara is the most significant Buddhist deity after Buddha in the religious imagery of Ellora. There are thirty-four rock-cut cave temples which belong to Hinduism, Buddhism and Jainism. Besides 17 major Hindu caves, there are more than 25-30 smaller Hindu caves which form the Ganesh Leni group and Jogeshwari group. Cave 25 especially seems to have undergone a series of renovation attempts from originally being a Buddhist cave, as suggested by the nidhi figure on the right side of the verandah. What is the significance of Hampi Monuments? Vajrapani is another Buddhist deity frequently depicted in the Buddhist caves of Ellora. It only suggests that the site perhaps played a pivotal role in the socio-economic or political life of the region. The walls of the antechamber are carved with Bodhisattva and goddess figures; the latter include Tara and Mahamayuri. The architecture layout might have been inspired by the Chalukyan idiom while the carving technique employed is definitely from Pallava region as the unfinished scrap of rock on the right upper side of the temple complex demonstrates. There are thirty four caves at Ellora, in toto. Ellora is constructed along a South Asian trade route. Cave no.30 to cave no.34 are predominantly the Jain caves. This is a single storied square cave. Shadakshari Lokesvara is associated with teaching. The enormous structure is one of 34 cave temples and monasteries that are collectively known as the Ellora Caves. For example, sculptures on the north side of the temple, like the Mahishasuramardini panel show their consanguinity to the Pallava idiom while the northern wall has many carvings displaying Chalukyan ancestry. The first sculpture on the north wall depicts a standing Durga holding a trident in her left hand. Monolithic columns stand at either side. 29). Towards the rear wall is a detached square sanctuary with four doorways, each with a pair of tall guardian figures accompanied by female figures. There are cells inside the walls of the rock-cut courtyard. The back wall, the first panel is of Kalari Shiva. Vajra thus represents the indestructibility of Buddhism. The most interesting aspect of Kailasa is the perceived presence of craftsmen from various regions working together to produce the magnificent complex. Buddhist Caves of Ellora | Sahapedia River goddesses are positioned outside the north and south entrances. The Ellora caves did not, however, remain unexplored due to the proximity to the trade routes. The right hand holds discus and the left hand holds earth, which he rescued in the avatar. It is plausible that carving activity at Dhumar Lena was disturbed when Kalacuris were engaged in war with Chalukyans in late 6th century. Both are three storied structures and Cave 11 is erroneously named Do Tal or two storeys because its ground floor was once buried. Many of the sculptures here are mutilated. . It is a source of great national pride, perhaps as much as the Taj Mahal. The cave has sculptures of Vishnu and Ganesha and a skeleton Bhringi or Kala with two arms and outspread hair. Such affiliations to Pattadakkal clearly point towards the date of 750 AD when Dantidurga introduced the monolith tradition in Ellora soon after he took over the empire from the Chalukyans. Brahma, Ganesha and Dikpalas are also visible. A small sanctum or the main shrine is surrounded by a passageway adjoins a square columned mandapa and a verandah (Fig.23). On the left of the verandah is a gracefully posed figure of Ganga (Fig.10); Yamuna appears in the corresponding position on the right. Post Ajanta architecture pattern as masterly demonstrated in Ramesvara cave was not used exclusively for Hindu caves in the complex. Today Caves 11 and 12 are worshipped by the followers of Mahanubhava sect. Ellora caves are excavated out of volcanic basalt rock peculiar in the Deccan region. Another Kalacuri period monument at Ellora is Ramesvara (Cave 21, Fig.4) and probably the Visvakarma (Cave 10, Fig.5). We don't have to travel abroad to study history - it is around us all. In the Buddhist group, Cave 2 follows the pattern of a typical vihara as seen in Ajanta and Aurangabad. This is supported by the sponsorship of these communities to most of the Buddhist establishments and monuments. The columns here have their shafts decorated with foliate motifs and garlands. The niche decoration follows the Chalukyan precedents but with an accentuated exuberance. The copper plate inscription dated 742 AD donated by the Rashtrakuta ruler Dantidurga is of help in defining the position of Ellora as a place of religious and political importance (Dikshit 1939-40). On the basis of the presence of this cave we can say Ellora was an educational centre, at least when it was an active Buddhist centre. But recent studies show that some Hindu caves, that is Caves21 and 29 were excavated earlier followed by the Buddhist caves. What is the significance of the Khajuraho Monuments? There are few paintings on walls that have survived the test of time. The shrine is placed at the rear of the verandah which acts as an ardhamandapa or antarala. The niches here are framed by pediments with arch-like motifs. Brahmananda Deshpande after examining the inscriptions of all the dynasties of this period comes to the conclusion that northern Konkan, along with other parts of Maharashtra was certainly under the domain of the Chalukyas from 570 to 685 AD and that the dynasty should hence get credit for the authorship of these caves (Deshpande 1976). Next panel is of Gangadhara. Flying celestial figures, naga deities with coiled bodies, and scrollwork adorn this scheme. It has a circumambulatory path adhering to the Pasupata sambradaya. The Kalacuris of Mahishmati proudly proclaim themselves as the ardent devotees of lord Pasupati and hence supporters of the Pasupata sect of Saivism. As mentioned above, in 742 Dantidurga issued a land grant from Ellora to a Brahmin of Navasari demonstrating his imperial ambitions. The Ankai Fort caves are thought to be from the same period. The shrine doors have female attendants, Ganga, and Yamuna. Brahma, the priest, is seated on the floor making offerings into the fire. Cave16, the famous monolithic shrine Kailasha, is mentioned as Manakeshwar in Jnaneshwari, a commentary on the Bhagvada Gita composed by thewell-known Marathi saint Jnaneshwar in the 13th century of the Common Era. In plan both these caves have a lot in common with the Dasavatara cave which was later converted into a Rashtrakuta monument by Dantidurga. Regarded as a marvel of construction. As Girija river and the kunda which is created by the waterfall were probably the sacred center of Ellora, the possibility of finding early caves in its proximity is quite natural. Cave 5 which looks more like a public residence is an oblong hall with cells on both sides (Fig.11). The caves date from the late sixth through tenth centuriesan important period of temple building in India as regional rulers, merchants and traders, and religious communities sought to establish their presence and power through the patronage of structural and rock-cut architecture. Only later was this chiseled into a semblance of architectural form. Ellora occupies a flat rocky region of the Western Ghats, also known as Sahyadri (Benevolent Mountains), where the geology of the landscape was shaped by volcanic activity creating a multi-layered basalt formation known as the Deccan Traps that formed during the Cretaceous period. By using this site, you agree to our Terms of Use and Privacy Policy. The architecture and sculpture of caves 26 and 25 have features showing many layers of activity belonging to both early and late phases (Fig.7 and Fig.8). 'Ellora Plates of Dantidurga: Saka 663 ', Epigraphia Indica 25. So it can be suggested that tantric Buddhist icons at Ellora were excavated even before standard Buddhist tantric texts were codified or were being circulated. We and our partners use data for Personalised ads and content, ad and content measurement, audience insights and product development. The Buddhas on the left are in meditating posture (Fig.20), while those on the right display dharmachakra mudra or preaching gesture (Fig.21). Why Ellora caves are so famous: Ten Facts at a Glance - Jagran Josh The sculpture has Shiva standing in a column of fire. The main shrine is carved out as a sarvatobhadra shrine with a circumambulatory path, similar to Ramesvara cave. The roof is an octagonal dome. The columns have partly fluted shafts, pot and foliage capitals, and plain brackets. Ellora was an important centre of tantric Buddhism. It has an open court with a free-standing monolithic mandapa in the middle and a two-storeyed excavated temple at the rear. In an inversion of structural practice, they had to be cut out of solid rock from top to bottom. Subsidiary corner shrines have similar but smaller towers. Ellora was an important historic commercial center of the Deccan region, located on an ancient trade route of South Asia. Here in the inscription, Dantidurga emphasizes the religious importance of Ellora and expresses his quest for establishing the new dynasty of Rashtrakutas. Large-scale panels on the walls of the outer aisles depict Andhakasuravadhamurti, Ravananugrahamurti, Nataraja (Fig.15), Lakulisa, Kalyanasundaramurti, and Siva Parvati playing dice. Patronized by a succession of rulers from the Rashtrakuta dynasty, mid-8th century, it symbolizes Mount Kailasa, the abode of Shiva. In the upper part of the panel there are semi-divine and divine flying figures. Ellora Caves - Wikipedia The layout of the temple, with its columned aisles and carved figures is closely related to the Buddhist excavations (Caves 11 and 12). Overview In the lap of Charnadari hills which extend over a mile and a half-lie the world-famous cave temples of Ellora. The antechamber also has an image of a goddess possibly from the Buddhist pantheon. Even in the late 7th century Buddhists incorporated deities associated with local and folk cults in mainstream Buddhism. Mithuna figures carved on the exterior of the Nandi mandapa reminds one of similar mithuna figures in Virupaksha and Mallikarjuna temple at Pattadkal. Next to it is Parvati performing the severe austerity of Panchagni Tapas to obtain Shiva as her husband, and Shiva as a mendicant is approaching her. The next panel has Ravana shaking the Kailash mountain and Shiva rendering him immobile by just pressing the toe. The Archaeological Survey of India has identified thirty-four caves at Ellora carved into an exposure of basalt that stretches over a mile in length.. The pediment over the doorway is larger and contains a chaitya window between arched motifs. Being on the trade route the site would have economic importance as well as religious significance. Ellora Caves | temples, Ellora, India | Britannica Unfortunately remains of such paintings have not been preserved. Here there are also figures of frolicking attendants of Shiva (ganas). 12. These consist of 12 Buddhist (caves 1-12), 17 Hindu (caves 13-29) and 5 . Two inscriptions link Rashtrakuta rulers with Ellora: the inscribed grant of Dantidurga in Dasavatara (Cave 15) (Altekar 1934), and a set of copper plates discovered at Baroda mentioning King Krishnas involvement in the excavation of Kailasa (Cave 16) (Bhandarkar 1927). Shiva protects his devotee young Markandeya from the clutches of death (Yama). Their worship and the presence of their imagery in these caves show how Buddhism was supported by local cults in the 7th century. The creation of the Kailasa, in fact, demanded a deep trench on four sides to expose a massive block of solid rock no less than thirty-three meters high. Ellora Caves. Each deity is associated with a specific colour which has a special significance or functional aspect. The side shrines at Jogesvari also follow the same pattern of architecture. The presence of images of Rakta-Lokesvara and Shadakshari Lokesvara, one representing shringara rasa and the other a highly philosophical meaning, suggests the presence of complex and highly evolved imagery in Ellora. So in this context the presence of Vajrapani in the Buddhist caves at Ellora is very interesting. The south end is dedicated to Vishnu. River goddesses mark the route to the three sections of the temple (a Nandi shrine, a gatehouse and the main sanctuary) which are on a raised plinth borne by elephants. Unless otherwise specified, all content is made available under the CC-BY-NC-SA 4.0 Licence, though additional terms may apply. Ellora was an important centre of tantric Buddhism. There are thirty-four rock-cut cave temples which belong to Hinduism, Buddhism and Jainism. So from 6th century of the Common Era till the end of 10th century or early 11th century Ellora was an important religious centre, mainly engaging in rock-cut activities. Utgikar, Pune: B.O.R.I. Monuments Tourist Places Religion & Spirituality Tourism General Topics Ellora caves located in Aurangabad district of Maharashtra is a UNESCO World Heritage Site. Two three-dimensional elephants, their trunks broken, stand nearby. The shrine doorway has no carvings on the jambs and is instead guarded by colossal dvarapalas attended by gana figures. Curved ribs emphasize the soaring vault of the ceiling. The presence of Bodhisattva Maitreya in these caves suggests that he retained the same importance in contemporary Buddhism as Avalokitesvara. As the Rashtrakuta empire extended from Malwa to Tondainadu in south India it came in contact with the already matured styles of Indian architecture that is nagaradravida and vesara. The Ellora Caves created in the Deccan Plateau near Aurangabad, India, have architectural similarities with other caves in the central Deccan region; they include 34 temples and monasteries dedicated to Buddhism, Hinduism, and Jainism. The complex served as a monastic site for worship and a rest stop for pilgrims, but also functioned as an important commercial centre due to its proximity to the South Asian trade routes. The Ellora Caves | HeritageDaily - Archaeology News It is to be mentioned that though Ravan ki Khai and Cave 17 were carved at the time Chalukyans were excavating the caves at Badami, or slightly later, these caves show no inspiration from their Chalukyan counterparts, except may be in iconography, for instance the Varaha and Nataraja in Ravan ki Khai can be called Chalukyan type. Rashtrakutas, indebted to their erstwhile overlords, the Chalukyans of Vatapi and Pallavas of Kanchi brought in a new idiom in cave architecture: the monolith tradition. Other panels depict Mahavira, Bahubali, and Parshvanatha (Fig.38). A mural is a large picture painted or affixed directly on a wall or ceiling. caves 21 to 29 and caves 1 to 12] have been attributed to the Kalacuris/ the Konkan Mauryas, Chalukyas or at times to the Vakatakas. The temples and other structures, which demonstrate the talent and dedication of the men who worked on it, is a testament to their belief in the project, and their desire to please the god they so devoutly believed in. Western Indian carvers who worked on the other caves at Ellora too might have been employed to work on the interior spaces at Kailasa. The antechamber has Ganesh on left and Gajalakshmi on right. On the roof are carved reclining lions and seated ganas. A flight of steps at the north end of the verandah ascends to the intermediate level (Fig.16). The columns of the square mandapa imitate those seen in late Ajanta caves. Other sites like Tanjavur during the Cola period and Hampi during Vijayanagara period served as political as well as commercial centers with flourishing religious activities. The Kailasa Temple is noteworthy for itsverticalcarving. The pyramidal mass of the tower over the main sanctuary rises high above the level of the court. Kailasa Temple, Ellora - Wikipedia The site has no early carvings of the Hinayana phase and may have begun with Brahamanical excavations with which the Mahayana Buddhist monuments at the site overlap chronologically. The cave is locally known as Vishwakarma cave and is the last Buddhist chaityagrha in the western Deccan. Caves of Ellora - Major Caves at Ellora, Important Caves Ellora India This suggests that by the end of 7th century female deities had occupied a significant place in Buddhist rituals and were worshipped alongside Bodhisattvas. Secondly, tantric Buddhist icons cannot be worshipped or are not considered pure for tantric rituals unless and until they are painted. The fourth panel depicts Shiva and Parvati on Kailash playing causar. 27: Pillared hall, upper floor of Cave 15. The simplicity of chaitya architecture one witnessed at Ajanta is long gone. Parallel to this cave is the only other durbar cave at Kanheri. It has also been pushed back to create a terrace with intricately carved parapet. Five major phases of excavations are seen in the Kailasa complex. Large sculptural panels are carved on these walls. The sculpture on the extreme right on north side is of Kalayna Sundari Murti (marriage of Shiva with Parvati). It will be interesting to probe into relevance of Ellora in this context. The earliest sanctuaries have small halls without columns in front of the shrine. The upper gallery doorway leads to an internal gallery with a parapet, the inner face of which is sculpted with embracing couples and maidens. The upper level of the cave shows many evidences of appropriation of an originally Buddhist structure, perhaps by the Rashtrakutas themselves. More than 100 images of Avalokitesvara have been reported from the Buddhist caves of Ellora. Elephanta ani Rameshvara lenyachya Kalavar Navin Prakash (in Marathi), Shodhamudra,Aurangabad:Kailas Publication. Considering these factors, it seems that all Buddhist images at Ellora were once painted. Caves11 and 12 are triple storeyed caves which are huge monasteries. The circumambulatory passage in the sanctum sanctorum have sculptures of Sapta Matrikas holding a child and the identity of each possible by the mount carved on the pedestal. Scholars generally agree that the Ellora Caves complex was built during the Rashtrakuta dynasty, during the reign of King Krishna. Criterion (i): The ensemble of Ellora is a unique artistic achievement, a masterpiece of human creative genius. That is why the 12 Dharinis seen in Cave12 are important. These caves are one of the finest examples of rock-cut architecture in India with construction beginning during the time of Vakatakas and architecture reaching its zenith during Rashtrakutas. Access to an upper gallery is provided by steps cut into the left side of the verandah. While discussing the long-lasting carving activity at Ellora, one wonders why all the major or minor dynasties that controlled the region were eager to build here. This shows that Ellora was an important centre of tantric Buddhism. The World Heritage Centre is at the forefront of the international communitys efforts to protect and preserve. [2] Despite this reliance on earlier designs, the Kailasa at Ellora remains unsurpassed as the largest and most grandiose of all monolithic monuments in India. The plan of the cave consisting of a broad verandah flanked by upavarnakas [sub shrines] belongs to the lineage of Ajanta and Aurangabad caves. 30: View of the inner courtyard of Cave 16. There are also many unnumbered excavations, inferior as far as architecture and art are concerned, clustered on the hillside above called the Ganesh Lena group. Coming to Cave 12, the lowest floor consists of a long hall with three rows of columns. UNESCO World Heritage Centre - State of Conservation (SOC 1997) Ajanta Both conceptually and artistically, the Kailasa is a unique and remarkable monument. Large-scale sculpted wall panels on the sides represent stories of Hindu God Shiva. This monument was inscribed soon after Dantidurga claimed his independence from the Chalukyan overlords. History & Evolution of Indian Cave Architecture The gallery circumambulating the main shrine is probably an afterthought and display many elements like intricately carved geometric patterns on its plinth. - Contact Address: HeritageDaily LTD - Suite/Unit 40 17 Holywell Hill, St Albans, Herts, United Kingdom, AL1 1DT. The fourth panel depicts Vishnu seated along with his consorts Sridevi and Bhudevi. It was a royal temple patronized probably first by Dantidurga and after him Krishna I in mid eighth century, and then later by many Rashtrakuta kings including Amogha Varsha and Govinda III. For any queries, comments, or feedback, please contact Sahapedia at, Imagining the Divine: Temple Stories and Tevaram, Sri Satish Krishna Shanbag: From Bamboo to Bansuri, , Early Records of Petroglyphs and Rock Art from. The caves in sequence between Ramesvara and Dhumar Lena, except Cave 27 and 28, show similar disturbances in carving activities. A monolithic linga is enshrined within. Buddhist monuments (Caves 1-12) occupy the southernmost part of the site, while Hindu monuments (Caves 13-29) are located in the middle; towards the north are a small number of Jain excavations (Caves 30-34). Fig. The decorated doorway with flanking monumental dvarapalas are first introduced in Jogesvari, later followed by the present cave. At the rear (east) an antechamber leads to the sanctuary. The monolith in the centre court of Jain group introduces a new type of Sarvatobhadra shrines which will be extensively used in medieval Karnataka. A flight of stairs to the left of the entrance to the main cave ascends to a spacious mandapa on the upper floor; this was later modified for Hindu usage(Fig.27). While many dynasties adopted one of these styles, Rashtrakutas shuffled them and placed them in contrasting regions. It is about 30 kilometres . The rear and side walls have recessed shrines in the middle. The right portion of the circumambulatory path has seated saptamatrika figures carved on the wall. Not only is the Ellora complex a unique artistic creation and a technological exploit but, with its sanctuaries devoted to Buddhism, Hinduism and . Inscriptions of the Kalachuri Chedi Era, Corpus Inscriptionum Indicarum 4.2. Not only in structural monasteries but also in rock-cut monasteries, we generally find a separate chamber allotted to Hariti and Panchika which reminds us of this episode of Buddhas time. Another remarkable aspect of Ellora is that here, in the same space, the craftsman completely turns around the conventional understanding of cave temple architecture, starting with caves with just mukha mandapa and shrine as in Cave 28 to creating a temple fully carved out of rock as in Kailasanatha temple, Cave 16. Another cave which shows pre-Dhumar Lena features is cave 27 (Fig.6) excavated on the northern side of the teertha. It is approached by a flight of steps leading into a large hall with pillared front. The Architecture of Ellora Caves | Sahapedia
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